REGENCY FURNITURE AND WORKS OF ART H. BLAIRMAN & SONS LTD ESTABLISHED 1884 Regency Furniture and Works of Art Sphinx head, designed and carved by James Watt (1736–1819) English (Birmingham), 1813 Private Collection A presentation for TEFAF, Maastricht, 2020 All objects in the catalogue are offered for sale, subject to their remaining unsold Dimensions are given in centimetres, height × width × depth Photography by Prudence Cuming Associates Ltd Designed and Printed by Henry Ling Ltd, at the Dorset Press, Dorchester, DT1 1HD An online catalogue to coincide with: TEFAF, Maastricht 7–15 March 2020 (private previews 5–6 March) © H. Blairman & Sons Ltd, 2020 From Thomas Hope to ‘Vogue Regency’ and beyond: the growing appreciation of Regency design during the twentieth century George IV’s personal taste is richly reflected in the exhibition George IV Art & Spectacle at The Queen’s Gallery (15 November 2019–3 May 2020), then moving to The Queen’s Gallery, Palace of Holyrood House (16 October 2020–5 April 2021). This commemoration of the bicentenary of the Prince Regent’s accession to the throne in 1820 and coronation the following year comprises, primarily, English and French furniture and works of art, paintings and sculpture. Meanwhile, to mark this same anniversary, Blairman’s stand at TEFAF Maastricht (5–15 March 2020) highlights a group of ‘Regency’ furniture and works of art illustrating aspects of the extended period that took its name from the Prince Regent. As Frances Collard notes, ‘The term ‘Regency’ is often used not only to describe the consti- tutional position in the nine years between 1811 and 1820 when the Prince of Wales ruled as Prince Regent … but also the development of architecture and decorative arts at the end of the eighteenth century and beginning of the nineteenth century.’ Margaret Jourdain (1876–1951), in her pioneering work Regency Furniture 1795–1820 (London, 1934), included the decade and a half before the political establishment of the Regency until the accession of the Prince Regent as George IV. Jourdain’s book, by abruptly ending in 1820, was unable to include the various developments of the period up to 1840, for example work carried out for George IV at Windsor Castle.1 The chair (fig. 1) is one from a pair acquired for Lotherton Hall, Leeds, through Blairman’s, from the collection of John Aspinall (1926–2000). The chairs, part of a group of Fig. 1. Chair designed by A.W.N. Pugin (1812–52) and manufactured by Morel & Seddon, 1828, © Leeds Museums and Galleries (Lotherton Hall)/Bridgeman Images Fig. 2. Table designed by Thomas Hope for his own use, English (London), circa 1802, private collection. furniture acquired by Philip Blairman from Windsor Castle, had until then been part of a larger set in the private gaming room at the fashionable Clermont Club, Berkeley Square, Mayfair (founded 1962). Jourdain also excluded remarkable Gothic furniture, such as that probably designed by Thomas Rickman (1776–1844) and manufactured by Gillow’s (circa 1730–1897) for Scarisbrick Hall during the mid-1820s.2 Although Regency furniture remained largely out of fashion for much of Queen Victoria’s reign (1837–1901), by the 1890s the cabinet maker and retailer Edwards and Roberts (founded 1845-?) was making furniture after Regency designs.3 And some of George Walton’s (1867–1933) designs for chairs, for example the low-backed ‘Brussels’ chair designed around 1901, show a debt to fur- niture dating from the early nineteenth century.4 But it was not until a little before a century or so ago that original Regency production began to attract increasing attention. As is frequently the case when there is a revival of interest in neglected or unfashionable periods or style of design, it is the dynamism of individual collectors that drives the resurgence. In the case of furniture and works of art dating from the first decade of the nineteenth century, three individuals, although not alone, stand out: the playwright Edward Knoblock (1874–1945), the architect Sir Albert Richardson (1880–1964) and the architect Gerald Wellesley, 7th Duke of Wellington (1885–1972). All three owned, notably, furniture designed by Thomas Hope (1769–1831) acquired at (or soon after) the famous dispersals from Deepdene in 1917. The table (fig. 2) belonged to Thomas Hope and was sold from Deepdene in 1917; it was subsequently in the collection of Knoblock and later that of the architect Sir James Stirling (1926–92), another noted collector of Regency design.5 Considerable credit for the introduction of Regency furniture into interiors can be attributed to the decorator Ronald Fleming (1896–1968). When, under the heading ‘Vogue Regency’ in Home Sweet Home,6 Osbert Lancaster (1908–86) warned against ‘will o’ the wisp period accuracy’, he might have been thinking of a Fleming-designed room.7 Fleming created ‘Vogue Regency’ interiors in London for Ralph Dutton, 8th Baron Sherborne (1898–1985), while Wellesley and Trenwith Wills (1891–1972) were Dutton’s architects at Hinton Ampner.8 One final early collec- tor should be recalled: Wilfrid Evill (1890–1963). When his executrix Honor Frost (1917–2010) offered his ‘Important Collection of Regency Furniture’ for sale at Sotheby’s (12 July 1963, lots 85–115)9, she clearly did not part with all of the distinguished pieces offered. Following Frost’s death, some of the pieces from the 1963 sale reappeared at a second Sotheby’s auction (16 June 2011). The most significant early publication on English furniture from the beginning of the nineteenth century was Margaret Jourdain’s 1934 Regency Furniture (mentioned above). The author’s open- ing chapters set the tone that broadly informed the appreciation of Regency furniture until the 1960s: Greek Revival, Thomas Hope, Egyptian Revival and Chinese taste, but nothing Gothic or Antiquarian.10 Photographs are drawn from Southill,11 the Royal Collection, Stourhead,12 Hinton Ampner, Weston Park13 and many other private collections, as well as the V&A and a few from the antique dealing trade. Five years later, Henry D. Roberts, A History of the Royal Pavilion Brighton with an Account of its Original Furniture and Decoration (London, 1939) is a significant early contribution to our appreciation and understanding of this outstanding Regency confection.14 In Regency Antiques (London, 1953), Brian Reade (1913–89) explored aspects of the Regency period beyond furniture for the grandest interiors; he was also the first to identify George Bullock, who died in 1818. Clifford Musgrave (1904–82), Director of the Pavilion (1939–68), remained more firmly on the ground laid by Jourdain in his Regency Furniture (London, 1962). Musgrave cast his net beyond private and public collections for his illustrations, drawing heavily on the antique dealing trade: J.W. Blanchard, Jeremy, Moss Harris, Leonard Knight, and so on. Philip Blairman (d. 1972) and Temple Williams (dates unknown), who had been in partnership between 1939 and 1955 (when the latter set up on his own account), were early dealers in the field of Regency furniture and works of art. After the Royal Pavilion, Musgrave’s Regency Furniture drew most heavily on Blairman’s (27 images) and Temple Williams (15 images).15 Another volume that can- not be overlooked is David Watkin (1941–2018), Thomas Hope and the Neo-Classical Idea (London, 1968); the first detailed assessment of this great patron and collector. It was under Peter Thornton (1925–2007), inspired Keeper of the Department of Furniture and Woodwork, that the V&A led the way in developing the understanding of Regency that prevails today. Thornton’s department included Clive Wainwright (1942–99), Simon Jervis and Frances Collard. Wainwright in particular brought early nineteenth-century antiquarianism, as epito- mised by Sir Walter Scott (1771–1832), the creator of Abbotsford, firmly into the fold.16 The present catalogue follows the now widely acknowledged longer view of the Regency period.17 On the occasion of Blairman’s centenary, the firm published Ackermann’s Regency Furniture & Interiors (Ramsbury, 1984) and in 1988 joined forces with the National Museums and Galleries on Merseyside to mount a two-venue exhibition on the cabinet-maker and sculptor George Bullock (?–1818), with an accompanying catalogue.18 (fig. 3). Since 1988, Bullock discoveries have continued to be made19 (fig. 4). During the 1920s and 1930s, Philip Blairman pursued Regency design, doubtless inspired by the example of those early collectors mentioned above. At a period when popular taste still favoured the eighteenth century, Blairman was treading a new path. Furniture and works of art that passed through the firm’s hands over the ensuing decades ended up in private and Fig. 3. Chair designed by George Bullock ‘intended for a book-room in a mansion built in the seventeenth century’, from Rudolph Ackermann, Repository of Arts, September 1817 Fig. 4. Table designed and manufactured by George Bullock, English (London), circa 1815, private collection Fig. 5. One from a set of four Chinoiserie stands (detail), English (London), first quarter of nineteenth century, Royal Pavilion, Brighton public collections. Examples include half the Thomas Hope Egyptian Room suite, acquired by Blairman’s in 1954 from J.W. Blanchard and purchased by the 2nd Lord Faringdon; the three pieces remain at Buscot Park (National Trust).20 Under Clifford Musgrave, Brighton Pavilion collected Regency furniture in general and sometimes good substitutes for lost pieces, such as the pagoda stands acquired from Blairman’s in